Braced art surface

ABSTRACT

A rigid braced art surface that will support sculptural objects, metal fasteners, foams, paints, plasters, and the like. The braced art surface consists of a rigid working surface supported by back bracing that runs horizontally, vertically, and diagonally, with corner supports. The resulting system of bracing, along with the permanent fastening of the surface to the bracing, results in a surface that is dimensionally stable, twist and warp resistant. As an braced art surface of rigid and strong construction, one can apply paint, scrape or cut, attach objects, or apply plasters and foams to it with no concern for compromising the structural integrity of the surface.

CROSS-REFERENCE TO RELATED APPLICATION

Not applicable

BACKGROUND

1. Field of Invention

This invention relates to art surfaces as used traditionally by artists,but also in modern applications whereby an artist may attach or fastensculptural elements or uncommon grounds to an art surface.

2. Description of Prior Art

Heretofore artists used fabric stretched over frames or boards laminatedwith various materials for painting with oils and acrylics. In today'smarket, there is a demand for an art surface available in large andsmall sizes to which media other than, but including paint, can beapplied or fastened. These other media run the range from expandingfoams, thick plasters, to sheet goods, and found objects. The attachmentand use of such media requires an art surface strong enough to supportsuch media. The art surface must remain dimensionally stable, yetstrong, and provide the artist with liberal access to the rear of theart surface for easy installation of fasteners.

The conventional stretched fabric will provide the artist with a large,seamless surface. This surface does little to provide the artist with astructure to which the artist can securely attach fastening hardware.Fabric will not withstand the aggressive use of scrapers, or knives usedto intentionally cut into the surface. The flexible nature of stretchedfabric, along with the frabric's tendency to expand and contract withhumidity, does not provide a stable surface for thick plasters,expanding foams, and the like.

Canvas boards are of a more rigid nature than canvas, but are prone tobowing once the media has been applied. They have no seperate mechanismof support and rely on the frames into which they are placed forstability. Once installed, there is nothing to prevent the inevitablebowing. Canvas boards are constructed of cardboard and canvas and do notprovide a substantial structure into which an artist may screw or boltobjects.

Other types of art boards have been proposed, for example, U.S. Pat. No.4,065,596 to Groody (1977) and U.S. Pat. No. 4,207,366 to Tyler (1980).

Groody's patent addresses the issue of providing a rigid surface whileretaining the flexibility of touch of the artist's brush to the canvas.Many of today's artists find the flexibility of canvas annoying,especially with the more common use of mixed media in painting, such asoil crayons, markers, pencils, knives, scrapers, and any medium whichrequires pressure to apply. The stability of this surface is subject toa stiffener to which all else is laminated. The stiffener has nostructural support to prevent it from warping or twisting. The backsideof the board provides no standoffs where bolts, nuts, screws andfasteners can penetrate without interfering with the wall on which thesurface is hung, or on which the surface is laid. In addition, thesurface strength is limited to the outer layer of paper or fabriclaminated to the substructure.

Tyler's invention does address the issue of warping and twisting. Itshoneycomb substructure provides a rigid board, but is not of a designconducive to penetration of hardware at random locations. The paintablesurface is a series of laminated papers constructed to preventdelamination with the application of art liquids, such as watercolors.This surface is clearly for lightweight materials, such as paintings,watercolors, and the mounting of photographs. It would be unsuitable forapplications of heavy media such as plaster. As in the case withGroody's patent, further structure to allow the surface to stand offfrom the wall would be required for the protrusion of hardware throughthe surface.

Other types of rigid art surfaces in public use are usually hammeredtogether by the end user. They are normally a sheet of 1/4 inch plywoodnailed onto a rectangular frame of wood 2×2s. This basic design offersno resistance to twisting or warping. The larger sizes more commonlyused, are more likely to experience this deformity.

SUMMARY

The present invention is a dimensionally stable, non-warping artsurface. Its workable surface is supported on the backside by a seriesof braces around the workable surface's perimeter with the addition ofdiagonal bracing and corner bracing. The diagonal bracing addssubstantial strength and resistance to warping and twisting in alldirections, especially along the diagonal of the working surface. Thisallows for the use of thinner and lighter bracing members. Thisconfiguration allows maximum open space for protruding fasteners yetprovides maximum stability within the structure itself

Objects and Advantages

Accordingly, several objects and advantages of the present inventionare:

(a) to provide the artist with a rigid surface that will support alltypes of applied media.

(b) to provide the artist with a surface which requires no assembly, noadditional support, no frabric, and no frame.

(c) to provide the artist with a surface that is structurally solid andsuitable for heavy use, yet light in weight in relationship to its sizeand strength.

(d) to provide the artist with a surface that is superior in itsresistance to shrinkage, flexing, bowing, warping, and twisting.

(e) to provide the artist with a surface that is archival at arelatively low cost.

(f) to provide the artist with a rigid surface that will not give underthe pressure of oil crayons, pencils, markers, knives, or other mediathat require pressure to apply.

(g) to provide the artist with a surface that will retain structuralintegrity despite being scraped, gouged, or partially cut away.

(h) to provide the artist with all the above advantages on surfaces ofvarying sizes.

BRIEF DESCRIPTION OF THE DRAWINGS

FIG. 1 shows a front view of a braced art surface.

FIG. 2 shows a rear view of a braced art surface.

FIG. 3 shows an exploded view of a working surface detached from abracing structure.

FIG. 4 shows an exploded view of a braced art surface bracing structure.

FIG. 5 shows a detail of a inner bracing joint.

FIG. 6 shows a detail of a corner brace.

REFERENCE NUMERALS IN DRAWINGS

    ______________________________________                                        10          working surface                                                     11a, 11b, 11c, 11d horizontal and vertical elongated brace members                       12a, 12b, 12c, 12d corner brace members                            13a, 13b, 13c, 13d diagonal elongated brace members                         ______________________________________                                    

DESCRIPTION-FIGS. 1-6-EMBODIMENT

Specific reference will now be made to the drawings. Closely related orsimilar parts have the same reference number with different suffixes todifferentiate the individual members. The same reference numbers areused for corresponding elements throughout.

A braced art surface in final composite is shown in FIG. 1, front view,and FIG. 2, rear view.

FIG. 1 shows a front view of a working surface 10. A working surface canbe made of any suitable flat and rigid material such as plywood, lauan,fiberboard, composite board and the like. Thickness thereof can varytypically between 1/8 inch to 3/4 inch but must be substantially rigidrelative to a bracing structure (FIG. 4).

FIG. 3 shows an exploded view of the working surface 10 separated from abracing structure, (FIG. 4). The outer dimension of the bracingstructure is equal to that of the working surface 10. The workingsurface 10 is attached to the bracing structure so that the workingsurface is flush to the outermost edges of the bracing structure (FIG.2). The working surface 10 is typically attached by use of wood glue.Other suitable adhesives such as epoxies, contact cements, and the likecan be used. The surface attachment can be reinforced by use offasteners. Typically, 18 gauge, 1/4 inch crown staples, 3/4 inch to 11/4inch can be used. Other size and types of fasteners, such as staples,nails, screws, and the like can be used.

FIG. 4 shows an exploded view of the bracing structure for the workingsurface. A bracing structure is made of a series of elongated bracemembers. Brace members 11a, 11b, 11c, and 11d create an outer braceframe. Brace members 13a, 13b, 13c, and 13d create a diagonal innerbrace frame. Corner braces 12a, 12b, 12c, and 12d support the corners ofthe outer brace frame.

The elongated brace members 11a-11d that create the outer brace frameand the brace members 13a-13d that create the inner brace frame can bemade of plywood typically 1/2 inch to 3/4 inch thick. The brace memberscould also be made of wood, composite board and the like. Typically, allbrace members have a depth that is a minimum of twice their width. Thewidth of all brace members are attached flush to the working surface 10(FIG. 3).

The elongated brace members of the outer brace frame 11a-11d are joinedto define a rectangle. The rectangle can vary in size. Brace member 11ais attached to brace member 11b at a right angle. The attachment pointcan be mitered, as in FIG. 4, fingered joined, butt joined, and thelike. The joints of the brace members can be joined with wood glue, or asuitable adhesive. Typically, 16 gauge, 11/2 inch nails are used toreinforce the joint. Fasteners such as screws, staples, and the like canbe used. Brace member 11c is then attached to brace member 11b. Bracemember 11d is then attached to brace member 11c and brace member 11a,completing the rectangle.

The inner brace members, 13a-13d are joined to define an inner diamondshaped frame. These brace members 13a-13d are double mitered at the endsso there is a flush fit when joined to each other, and when joined intothe outer frame (FIG. 5). Brace member 13a is attached to the insidemidpoint of brace members 11a and 11b. 13b is attached in like fashionto 11b and 11c. 13c is attached in like fashion to 11c and 11d. 13d isattached in like fashion to 11d and 11a completing the inner diamondshaped frame. These can be fastened by use of suitable adhesives andfasteners, as are the outer brace members 11a-11d.

Corner brace members 12a-12d are attached into the corners of the outerframe 11a-11d. They are attached within the bracing structure to theback side of the art surface 10 (FIG. 6). The corner brace members canbe made of wood, plywood, composite board and the like. The joints ofthe brace members can be joined with wood glue, or a suitable adhesive.Typically, 16 gauge, 11/2 inch nails are used to reinforce the joint.Fasteners such as screws, staples, and the like can be used.

The thickness of the corner braces is typically 1/2 inch to 3/4 inch.The length and width of the corner braces can vary in relationship tothe size of the braced art surface.

Operation-FIGS. 1-6

The working surface 10 accepts the media as applied by the artist. Theworking surface being the face of the braced artist surface from whichthe final art will be viewed. The working surface accepts mechanicalfasteners, the addition of sculptural elements, and the use of foams,heavy plasters, and the like. The working surface is of rigid material,but depends on the whole of the bracing structure for strength andstability (FIG. 4).

The bracing structure being comprised of all the elements in FIG. 4holds the working surface 10 rigid. It also allows maximum support toprevent twisting or warping while allowing access to the majority of theworking surface from the rear.

The brace members 11a-11d fully support the perimeter of the workingsurface. The working surface is flush to the edge of the outer bracemembers. This creates a smooth edge to the braced art surface that canbe finished, painted, or framed. The outer brace members help preventhorizontal and vertical warping.

The outer brace frame is reinforced by use of the corner brace members12a-12d. The corner brace members are additional support to keep theworking surface 10 square. They lessen the flexibility of the outerbrace members 11a-11d across their length and width. By being placedagainst the backside of the bracing structure (FIG. 6), rearward of theworking surface, they add additional support to help prevent twisting orwarping of the surface.

The inner brace members 13a-13d are of vital importance. Thesediagonally placed brace members counteract the tendency of the surfaceto twist or warp especially along the surface's diagonal. Twisting orwarping along the diagonal is the most common deformity of art surfaces.The double mitered edges (FIG. 5) of the inner brace members 13a-13dallow the brace members to be assembled into a diamond shape by creatinga flush surface for each member to attach to the next. It also leaves aflat surface at each corner of the diamond shaped bracing that will seatflush to the outer braces 11a-11d. The diagonal inner brace memberssupport the weakest points of the outer brace members 11a-11d, which arethe center points.

Conclusion, Ramifications, and Scope of Invention

Thus, the reader can see that the braced art surface of the inventionprovides a highly reliable, strong, dimensionally stable surface thatcan be used for multiple purposes. Furthermore, the braced art surfacehad additional advantage in that;

it provides the artist with a surface on which objects can be fastenedor attached with an array of adhesives or mechanical fasteners.

it provides the artist with a rigid surface that will not flex under thepressure of oil crayons. pencils, markers, or other media that requirepressure to apply.

it provides the artist with a recess in the rear of the working surfaceto accept protrusions through the working surface by objects, fasteners,etc., without extending past the rear of the art surface.

it allows the artist to use scrapers, knives, and like abrasive tools toscratch into the working surface itself with no loss of structuralintegrity.

it provides the artist with a working surface from which portions can becut, or removed with little loss of structural integrity.

it provides the artist with a surface that requires no assembly, noadditional parts or fabrics; In effect, ready to use.

While my above description contains specifications, these should not beconstrued as limitations on the scope of the invention, but rather asexemplification of one preferred embodiment thereof. Many othervariations are possible. For example the corner brace members could beinset into the elongated brace members within a mitered slot, or flushmounted onto the back of the braced art surface. The materials can be ofmetal or plastic extrusions and surface. The inner brace members thatform the diamond shape could be of a lesser depth and width than that ofthe outer brace members, allowing additional space for hanging devicessuch as eyelets, picture wire, cleats of various types, fingered metalwall clips, and the like. The depth of all elongated braces members canbe less than twice the dimension of ther width.

Accordingly, the scope of the invention should be determined not by theembodiment illustrated, but by the appended claims and their legalequivalents.

I claim:
 1. A readily assembled, dimensionally stable, warp-resistant,braced art surface, comprising in combination:(a) a flat rigid workingsurface (b) a bracing structure for said flat rigid working surfacewhich comprises:i. a plurality of elongated brace members with abuttingend portions cooperatively joined to define a rectangular structure ii.a plurality of elongated brace members with abutting mitered endportions cooperatively joined to define a diamond-shaped polygonstructure whose corners attach to the inside midpoint of the bracemembers which comprise said rectangular structure iii. a plurality ofcorner braces attached within the corners of said rectangular structure(c) means for joining said all members of said bracing structuretogether (d) means for joining said bracing structure to said workingsurface.
 2. The braced art surface of claim 1 wherein said flat rigidworking surface is plywood about 1/8 inch to 3/4 inch thick.
 3. Thebraced artist's surface of claim 1 wherein said elongated brace membersare plywood about 1/2 inch to 3/4 inch thick wide, the depth of thebrace member being a minimum of twice it's width.
 4. The braced artsurface of claim 1 wherein said corner bracing is plywood about 1/2 inchto 3/4 inch thick.
 5. The braced art surface of claim 1 wherein saidmeans for joining all bracing members of said bracing sturcturecomprises a wood glue and about 16 gauge nails about 11/2 inches inlength.
 6. The braced art surface of claim 1 wherein said means forjoining said working surface to said bracing structure comprises a woodglue and about 18 gauge 1/4 inch crown staples about 3/4 inch to 11/4inches in length.